Though there are many thousands of digital typefaces available, none seem to be made exclusively of letters that tessellate, a complete tessellating alphabet. This void is now filled with not one typeface, but a group of typefaces, the Tescellations kinship group. Even though I am aware of only one use for this typeface--writing about tessellations--that does not mean there are not hundreds or perhaps thousands of other uses. These typefaces are a byproduct of two maze books I designed, Puzzling Typography and Puzzling Typography A Sequel. I found the challenge of making mazes from tessellations, including letter tessellations, intriguing and these typefaces are a byproduct that endeavor. There are seven members of this typeface kinship group. I tried to select the the glyphs that fit together best to form Tescellations; it is the most readable of the lot. The reason for an Italics version is that I needed one for the maze project. In constructing it, I tried to include as many different lower-case glyphs as I could rather than just skew the regular version. A purist might insist that the tessellation deal with the counters. My approach was to worry only about the exterior of any letter that has an interior, but for anyone who who might object to the counters, versions with filled counters are included. What did not fit into Tescellations was dumped into Tescellations Two, which is somewhat of a ransom-note type of face. It comes in two styles, a regular version and a version in which the counters are removed. TescellationPatterns shows how many of the characters in these typefaces tessellate. It has over 100 tessellation patterns, each on only one character. Simply type several lines with any character and make sure the leading is the same as the font size, and you have an instant tessellation pattern of a letter.

Lush was a formal script until it had a few too many drinks and, as a result, loosened up a little bit. Harkening back to the handlettering of the 40s and 50s, Lush has evolved into a casual, but well-dressed script that maintains a rather aggressive rhythm. Transitions often whip back quickly, forcing the letters to reel from the movement and resolve efficiently. It is not as warm as some scripts, intentionally so, so as to distinguish it from its predecessors. Type and lettering fans will revel in the options afforded to each character—in some cases there are up to 15 different variations with multiple glyph recipes available to produce the most unique and fluid lettering combinations possible. An often overlooked segment of contemporary script fonts, the uppercase letters have at least 3 options to work with that mesh well with the 36 ornamental flourishes to add even further embellishment. In total, there are over 1,650 glyphs in the typeface that includes these OpenType options: Stylistic Alternates, Contextual Alternates, Swashes, Titling, Historical Forms, Initial Forms, Oldstyle Numerals and 3 additional Stylistic Sets. With this release, I have tried to provide as much flexibility and 'forgiveness' within the typeface so the lettering enthusiast can have fun and explore thousands of iterations… and it's pretty easy math to figure this out: with over 970 alternates and 270 ligatures, I intended this typeface to be one that keeps on giving. One important fact to note… this marks the first release of a smooth, non-brushed, non-textured script from me—but it won't be the last. That said, I will have to admit that the brush has influenced many of the characters and their construction. Enjoy :)

Introducing “Let’s Jazz” - a playful typeface which is inspired by iconic mid-century American advertising and lettering. With this project we wanted to homage the dazzling graphics of those booming years and the result is a jazzy typeface that provides a condensed aspect with a bouncy rhythm. As previously said, Let’s Jazz gives the spontaneous vibe of this sensational music genre but it has been also designed with a strong focus to the very distinct look of Saul Bass graphics, which are honestly still fresh and convincing, even nowadays. Let’s Jazz offers two versions, Regular and Stamp. Each version contains more than 450 glyphs and covers several languages based on the Latin alphabet; the jazzy experience is enhanced with OpenType (OTF) support for small caps and includes some neat ligatures and alternates plus the oldstyle bouncy numerals*. This package is a powerful tool in a wide variety of design purposes: headlines, packaging, logotypes, badges, posters and much more. *Let’s Jazz has built-in OpenType features enabled for Adobe® Creative Suite® and any other opentype capable software. All the extra characters has been additionally coded with “PUA Unicode”, which basically means that this font duo is totally accessible without any additional design software. All the extra characters can now be copied straight out the FontBook (Mac) or CharacterMap (Win) and pasted into your favorite text editor. Official mini-tutorials available here: - How to access alternates, ligatures and swashes in Font Book®: https://youtu.be/mGKlvKr0ReI - How to use alternates, ligatures and swashes in Photoshop®: https://youtu.be/46ZtDbHwUAc Specifications: - Multi-language Support (Central, Eastern, Western European languages) - OpenType features (Standard and Discretionary Ligatures, Alternates, Small Caps, OldStyle Numerals) - PUA Coded Extra Characters Thanks for viewing, Unio.

Expline typeface finds its roots in modernist design but subtly pays homage to early Modern Industrial Grotesks. This fusion creates a font that encapsulates the essence of tradition while embracing the contemporary. The font incorporates sharp details in select characters and curves, imparting a delicate sweetness while preserving the robust character associated with Grotesk fonts. This unique blend allows Expline to strike a perfect balance between display and text usage, making it a versatile choice for a variety of design projects. Expline's flexibility shines through its extensive weight options. The font family offers eight distinct weights, each thoughtfully crafted to establish a clear typographic hierarchy. Designers can easily choose the right weight to suit the specific needs of their projects, whether it's a bold headline or a refined body text. This variety ensures that your typography will always make the right visual impact. Expline typeface doesn't stop at weights. It provides expansive character sets across each weight, encompassing all Western European diacritics, Punctuation, Mathematics, and Numerics. This ensures that your typography will seamlessly support various languages and punctuation marks, making it a global choice. In addition, the font boasts OpenType features, granting the flexibility to explore multiple subsets. This includes alternate capital letterforms, tabular and lining numerals (both proportional and old-style), enabling endless typographic possibilities. Whether you're designing for print or web, these features allow you to fine-tune your typography for a perfect fit. Expline is a font that bridges the gap between modernist design principles and early industrial influences, resulting in a Neo-Grotesk font with a contemporary twist. Its comprehensive weight options, expansive character sets, and OpenType features make it a versatile choice for any medium between print and screen.

Expline typeface finds its roots in modernist design but subtly pays homage to early Modern Industrial Grotesks. This fusion creates a font that encapsulates the essence of tradition while embracing the contemporary. The font incorporates sharp details in select characters and curves, imparting a delicate sweetness while preserving the robust character associated with grotesk fonts. This unique blend allows Expline to strike a perfect balance between display and text usage, making it a versatile choice for a variety of design projects. Expline's flexibility shines through its extensive weight options. The font family offers eight distinct weights, each thoughtfully crafted to establish a clear typographic hierarchy. Designers can easily choose the right weight to suit the specific needs of their projects, whether it's a bold headline or a refined body text. This variety ensures that your typography will always make the right visual impact. Expline typeface doesn't stop at weights. It provides expansive character sets across each weight, encompassing all Western European diacritics, Punctuation, Mathematics, and Numerics. This ensures that your typography will seamlessly support various languages and punctuation marks, making it a global choice. In addition, the font boasts OpenType features, granting the flexibility to explore multiple subsets. This includes alternate capital letterforms, tabular and lining numerals (both proportional and old-style), enabling endless typographic possibilities. Whether you're designing for print or web, these features allow you to fine-tune your typography for a perfect fit. Expline is a font that bridges the gap between modernist design principles and early industrial influences, resulting in a Neo-Grotesk font with a contemporary twist. Its comprehensive weight options, expansive character sets, and OpenType features make it a versatile choice for any medium between print and screen.

The bâtarde flamande is a style of writing used predominantly in France and present-day Belgium in the 15th century. The style shares an ancestry with other writing styles traditionally grouped as blackletter— fraktur, textura, rotunda, and schwabacher. It had evolved, however, into an æsthetic far removed from its relatives. While high-contrast in nature, the bâtarde flamande is more delicate and dynamic than the austere and condensed fraktur and textura. Quick curves lack the rigidity of the schwabacher and rotunda. Flair through swashes is thematic, as are the variations in letterforms. The flowing rhythm, achieved through a letterform axis that is overall slightly rightward, is most noticable in the hallmark f and long s. Round forms are fused together for economy of space. It is a writing hand that, with its syncopation and fluidity, produces a vibrance uncharacteristic of other blackletters. Givry has been created in the spirit of the bâtarde flamande. It melds the particular traits compiled from the works of the style’s prominent scribes—Jean Fouquet, Loyset Liédet, and Jean Bourdichon. While suitable as an elegant and energetic display face, Givry was conceived for setting continuous text. The result of many refinements and adjustments is the preservation of the style’s irregular nature, as well as a consistency that continuous-text typography requires. Carefully researched and developed in OpenType format for a wealth of typographic features and support for more than forty languages, Givry is neither derivative nor experimental, but historically accurate. Of the many blackletter digital typefaces available, fraktur and all its connotations have become representative. In contrast, the bâtarde flamande is essentially non-existent in digital form, and has until now been overlooked. Givry provides designers and anyone searching for typographic expression a lively, delicate, and striking side to blackletter.

From fine print and red ink in corporate annual reports to huge three dimensional signage, Neutraface has become the definitive designers’ workhorse. Now this geometric juggernaut boasts even more font firepower with the addition of the Neutraface Slab family. Neutraface Slab features five display weights, four text weights with italics plus a unique stencil style that work together like a typographic symphony or can stand alone like accomplished soloists. Just like its sans-serif counterparts, Neutra Slab Text includes small caps, seven figure styles and a host of other sophisticated OpenType features that have been integrated in a single seamless package. The complementary display weights afford an uncompromising statement that can range from thin and delicate to bold and bombastic. FEATURES: MORE ALTS: Neutraface Slab comes with several alternate characters, accessed through either OpenType stylistic sets or through the Stylistic Alternates feature. TITLING ALTERNATES: The distinctive lower crossbars of the original Neutraface are included in Neutraface Slab as the Titling Alternates OpenType feature. TEXT FIGURES: All variations of Neutraface Slab Text feature seven figure styles. Included are text figures for use in running text, lining figures for use with uppercase forms and small caps figures. Each of these styles is supplemented with tabular figures for use in columnar settings. Plus, superscript and subscript figures are included for use in fractions, footnotes, etc. NEUTRAFACE SLAB CREDITS: Typeface Design: Christian Schwartz, Kai Bernau, Susana Carvalho Typeface Production: Ben Kiel, Hannes Famira Typeface Direction: Christian Schwartz, Andy Cruz, Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Very few letter types with the context of grunge style fonts offer hierarchies to differentiate words in sentences or paragraphs. With Navaja I developed a font family that meets this need. This family is useful to organize the information into a hierarchy with an eroded look. Its central idea mixes grotesque, geometric and humanistic letter conventions. This way, Navaja is a grunge-sans with dense proportions to make graphic design with eroded character. Its main purpose appeared when one of my customers asked me for a t-shirt design for a fan club of an important football player. For this reason its starting point were stained and muddy letters characterizing the toughness and coldness of the sport. Over time their glyphs began to imitate the robustness of "wood type & Tuscan Type" widely used in posters in the late nineteenth century. Its purpose was strengthened in a family with 6 members that when mixed they produce mind catching contrast levels ideal for designing T-shirts, stickers, flyers, brochures, posters, billboards, cinema or TV. Therefore its variants are short up and down height X combined with different widths that by working together produce information that radiates outstanding apparently destroyed controlled violence. Navaja Dingbats consists of 52 illustrations useful for frames and textures. In that vein, the origin of each member comes from skeletons of Roman and Italic calligraphy. The low amount of contrast between thick and thin lines matching the contours apparently gnawed but strictly regulated by optical adjustments equating the sum between full and empty areas. Factors such as finishes, shapes and counter internal and external forms are meticulously planned although its scruffy look which strategic arrangements are offset to provide color typographical homogeneous. And in conclusion, I have plans to continue expanding the family with more complete versions in the future.

Introducing "Wasleyton," a vintage ephemera font that weaves the elegance of a bygone era into your modern design projects. Drawing inspiration from the timeless charm of elegant signage, gold leaf craftsmanship, and the artistry of old label products, Wasleyton is more than just a font—it's a journey into the aesthetics of the past. Unleash the power of nostalgia as Wasleyton offers a plethora of alternate characters, ensuring your designs are not just eye-catching but also uniquely authentic. The versatility of this font makes it a perfect choice for a range of applications, from authentic logos and elegant headings to the artistry of sign painting and captivating posters. Infuse your projects with a touch of vintage sophistication as Wasleyton lends its charm to letterheads, branding materials, magazines, album covers, and book covers. Watch as your designs come alive in movies, apparel, flyers, and label designs, each one telling a story of craftsmanship and timeless style. Combine Wasleyton with other fonts, be it a script for a touch of fluid elegance, a serif for classic appeal, or a sans serif for a modern twist. Add a few effects, and suddenly, your project transforms into a masterpiece—classic yet contemporary, elegant yet bold. Elevate your design game with Wasleyton's ability to transport your audience to a different era. Whether you're working on product packaging that demands attention or creating an atmosphere on a movie poster, Wasleyton brings that touch of vintage authenticity that turns your project from ordinary to extraordinary. In summary, Wasleyton isn't just a font; it's a time machine to the aesthetics of yesteryears. Perfect for logos, signage, posters, branding, magazines, album covers, and much more, Wasleyton is your key to infusing a timeless vintage charm into the modern design landscape. Add it to your toolkit, and let your creativity unfold in a tapestry of nostalgia and elegance.

A very legible Renaissance Antiqua This typeface is based on the desire to create an Antiqua like those which might have existed at the beginning of the »printing age« — the basic form oriented on the classical Roman and early Middle Ages models, the ductus defined completely by writing with a wide pen and much individual expression in detail. In the spring of 2005 I had the opportunity to closely examine a few pages in the famous book »Hypnerotomachia Poliphili« from 1499. The script used here from Aldus Manutius is exemplary. Most of the book, however, is not very carefully printed. The characters do not stay on the line; the print is at times too strong and at times much too weak. And on these imperfect pages the true character of the letters is recognizable; that is, that they are cut with lively detail which is a result of the patterns provided by full-time writers. After all, around 1499 script was written as a rule and the printed type was oriented on this pattern. I prefer the typeface on the lightly printed pages. The characters are not placed neatly on the line, but the distinct and emerging lively ductus of the individual characters automatically presents harmonious word formations in the eye of the beholder, with the non-perfect line stepping into the background. Also in Charpentier Renaissance, the strokes of the wide pen are still noticeable. The font has very defined softly bent serifs. The forms are powerful and stand solidly on the baseline. Charpentier Renaissance is very legible and yields a solid and yet still lively line formation. The accompanying italic, like its historical models, has almost no inclination. The lower case characters of Charpentier Renaissance Oblique have such idiosyncratic figures that they can also form a font of their own. Please visit www.ingofonts.com

Some typefaces need time to ripen; Burian and Scaglione made the first sketches for Ebony back in 2008, but it took a few years of maturing in a drawer to be developed into a multi-functional type family. While keeping in tune with TypeTogether’s focus on complex typographic structures needed for magazine, newspapers and books —whether printed or digital—, Ebony goes far beyond editorial use and promises great performance in branding and advertising. The range of dark weights with taut and powerful curves can boost any headline, while the lighter styles create an approachable and clean feel in blocks of continuous text. Ebony does not fall short on aiding legibility either; letterforms have a distinct direction of ductus and features like the top serif on ‘l’ help making them clearly distinguishable from each other. It is a type family that cleverly seeks a balance between the openness and legibility of humanist sans serifs and the striking and more regularised character of grotesques. The letter-shapes feature generous counters and open terminals with crisp angles, and daringly grow both in colour and width as the fonts get bolder. Infused with this strength, Ebony also shows a quirky side in some of her shapes; the vertical fractions, the at-symbol, the old-style numbers, … The predominantly slanted style of the italics is broken up in some letterforms, such as ‘a e f l’, that are more in line with a classic cursive appearance. This, together with a forceful italic angle, ensure a change in texture within a block of text, despite sharing the same letter weight and width with the uprights. With 18 styles, tending towards the heavier part of the weight-spectrum, this face has a powerful quality!

Introducing Topstitch—the typeface that adds a personal touch to your design. Each character has been carefully crafted to capture the essence of hand embroidery, with modest irregularities that give it a natural and organic feel. From the subtle slant of the strokes to the tiny imperfections in the curves, Topstitch is a testament to the beauty of imperfection and the art of handmade. Use Topstitch to add a touch of personality to your branding, packaging, or any design project that needs a bit of warmth and charm. Download Topstitch and start stitching your words with love and care. With its handmade charm and unique character, Topstitch is sure to become your go-to typeface for all your home sewing-themed projects. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The Typist SlabSerif is part of a big family, the Typist Family. The family consists of a monospaced, a SlabSerif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SlabSerif variant therefore has Typist Slab Prop, written in full the Typist SlabSerif Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, SemiBold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typist-slab-font-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

The Ahoura font family, designed by Naghi Naghashian, was developed considering specific research and analysis on Arabic characters and definition of their structure. The Ahoura innovation is a contribution to modernisation of Arabic typography; gives the Arabic font letters real typographic arrangement and provides for more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Ahoura supports Arabic, Persian, and Urdu and includes proportional and tabular numerals for the supported languages. The Ahoura Font family is available in three weights; Light, Regular and Bold. Each has two different styles-- normal and italic. Ahoura is the first real italic Arabic typeface known until now and its intuitive design arrangement fulfils the following needs: - It is precisely crafted for use in electronic media and it fulfils the demands of electronic communication. Ahoura is not based on any pre-digital typefaces and it is not a revival. Rather, its forms were created with today’s ever-changing technology in mind. - Ahoura is suitable for multiple applications, and gives the widest potential for acceptability. - It is extremely legible not only in its small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Ahoura's simplified forms may be artificially obliqued with In Design or Illustrator, without any degradation of its quality for the effected text. - Ahoura is an eye-catching and classy typographic image that developed for multiple languages and writing conventions. - Ahoura uses the very highest degree of geometric clarity along with the necessary amount of calligraphic references. The Ahoura typeface is of a high vibration that is finely balance between calligraphic tradition and the contemporary sans serif aesthetic commonly seen in Latin typography.

Designed by Cosimo Lorenzo Pancini and Mariachiara Fantini with the help of Solenn Bordeau, Erotique is an evolution of the original design by Zetafonts for Lovelace, that challenges its romantic curves with the glitchy and fluid aesthetic of trans-modern neo-brutalist typography. The seductive "evil serif" look of the Pheimester-like Oldstyle letter shapes is made edgier by the quirky connections and unexpected calligraphic twirls that marry digital distortions to traditional penmanship. Sensuous but sharp, Erotique speaks the language of teasing, and unrequited love, over-the-top and restrained like a show of Japanese Kinbaku, and beautifully heartbreaking like a friendzone valentine. Designed for display use, this high-contrast serif typeface is ready to take center stage in projects where a subtle elegance and an edgy, aggressive touch are required. For branding use it is paired by a Erotique Ornaments, a set of interlocking patterns based on the font letter-shapes, allowing for striking packaging, digital and ambient design. For editorial use it can add a sharp sensuality to logos and titles thanks to an impressive array of alternate glyphs, subtle ligatures and a set of whiplike fleurons, collected in the Erotique Flourishes pack. The typeface has been developed in the regular, medium and bold weight plus a monoline version, all of which have been paired with an Alternate version to give immediate access the more exotic alternate letterforms. With a character set of over five hundred glyphs, all the the weights of Erotique cover almost 200 languages using extended latin, and include advanced Open Type features as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Swash and Case Sensitive Forms. If you are a typeface lover, be warned: Erotique could be your fatal attraction!

Rae's Monogram Family is a contemporary take on monograms. Rae's Monogram One letters are best used as the right and left letters. You can add Rae's Monogram Two for the middle letter. Rae's Monogram Doodles One are 50 small illustrations to use with the monogram. If you don't see the one you want take a look at over 1,000 others in Outside the Line's Doodle font library. Of course just because it was planned this way doesn't mean you have use them this way. Use your imagination! You can use just one font, or two or all three. Commercial Licensing: Rae's Monogram Doodles One uses Outside the Line's normal licensing if you are using an illustration alone or not in a monogram on commercial goods. Plz read the http://www.outside-the-line.com/license/ Rae's Monogram One and Two offers Impression Licensing. If you don't intend to sell any items made from these fonts you don't need an additional license. But if you do, to make it easier Outside the Line offers the added ability to buy this license upgrade at the time you place your order. Plz contact Rae directly to do that. By default, you're allowed to sell 250 items in total without any additional licensing required and should you intend to sell more items, additional levels of licensing can be purchased now or at any time in the future. To be clear, 250 items doesn't refer to how many different items you may create but rather refers to the number of total sales of any item or items created with these fonts. If you have any questions or need additional commercial licensing feel free to contact Rae at hello@outside-the-line.com She is always happy to hear from you.

The Getty-Dubay® family of fonts has been 500 years in the making — so that you can make your handwriting worksheets in seconds. These fonts are modern descendants of the chancery handwriting style (now called “Italic”) from the Italian Renaissance, when master scribes designed a fluid and graceful hand, inspired by the proportions of the golden rectangle and Roman capitals. The Italic style has been in constant use since then. In modern times, it has been celebrated by Alfred Fairbank, Lloyd Reynolds and many others including authors Barbara Getty and Inga Dubay in their Getty-Dubay® Italic method. The Getty-Dubay® monoline handwriting fonts provide a replete resource to effectively model the highly-legible and beautiful Italic handwriting style. These are the official fonts of Getty-Dubay® Italic. Download the Getty-Dubay® Font Guide for everything you need to know about the Getty-Dubay® fonts. The Getty-Dubay® Joined fonts produce a clean cursive handwriting with join-as-you-type ease. Four join options are included: Standard, Pointed (altered joins into m, n and r), e k (utilizing the two-stroke e and one-stroke k), and Beginning (easiest joins only). The Getty-Dubay® Basic fonts provide sans-sarif clarity suitable for young writers. The Getty-Dubay® Precursive fonts add serifs to the lowercase letters, while retaining the pure Roman capitals of Basic Italic. The Getty-Dubay® Smallcaps fonts make mixed capitals easy to use. All Getty-Dubay® fonts come with scaffolds such as dashed contours, ruled lines, directional arrow and starting dots (for Basic and Smallcaps). They support multiple Latin-based languages from around the world. Getty-Dubay® is a registered trademark in the United States.

Kayto Script is the second collaboration of Erwin Indrawan as the calligrapher and Dexsar Harry Anugrah of Majestype as the typeface designer. Today the resurgence of calligraphy has reached the summit, with social media as the vehicle, we are now familiar with many styles of calligraphy. One of the popular styles is brush lettering, especially the pointed brush calligraphy. Kayto Script is an exploration in pointed brush calligraphy. It’s an interpretation of modern brush calligraphy that combines cursive writing with the East Asian calligraphy flair. Kayto is made with a real brush and held perpendicular to the paper so the brush can twist and turn freely to follow the movement of the hand. This technique gives a natural gesture and energetic look to the strokes. Kayto has a unique rhythm of brush pressure to generate the thick-and-thin strokes... the beating heart of brush calligraphy. Instead of the mechanical thick-and-thin strokes like the regular calligraphy, Kayto is written with a lot of variety of pressure that is somewhat melodic but still conform with the discipline. The result is a script that feels personal and characterized with lively energy. And just like handwriting, every letter in Kayto script is crafted with many varieties of glyphs and ligatures to make an unlimited combination of personalized lettering. Because of its natural letterforms, Kayto Script is best suited to complement anything that is earthy or has nature as the ground. Erwin, the calligrapher, has used Kayto in many of his watercolor illustrations. Another ideas are wedding names on invitations or place cards, logo for any natural products, inspirational quotes, business cards and the list goes on... but in the end, if you wish for something personal and truly one of a kind then Kayto script the one you want. Also, Kayto offer a free version called "Kayto Doodles" designed by Adiet Pramudya.

About Ardena: Ardena is a modern sans-serif typeface family. While neutral and clear at first glance, it can be characterized as both pleasant and confident due to its open, rounded forms and vertical terminals. It can be used in both a restrained and expressive way. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. Completed with an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Variable Font The Variable Font contains 2 axes: weight and oblique – all in just one file. Features: With over 1064 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. The principle is easily explained: If a number is placed in round or square brackets, it will automatically be displayed in an outlined circle or square. If you add a period to the number, it is displayed in a full circle or square. The same principle also applies to the arrows. The arrows themselves are combinations of greater/less symbols with the various slashes or hyphens. Get the static version of the Ardena family here: https://www.myfonts.com/fonts/julien-fincker/ardena/

Some 40 km north of Helsinki, surrounded by meadows and a serene Finnish lake, lies Ainola, the former home and now museum of composer Jean Sibelius (1865–1957). I know the place quite well, since it is only a stone’s throw away from the art school where I began my graphic design studies. We sometimes went there after classes—a beautiful walk, especially in spring, when the days were getting longer, the snow melting in the sun and the ice cracking on the lake. The composer often professed his love for this landscape and found constant inspiration in its moods, sounds and scents during different seasons. For many people, Sibelius and his music, most notably his famous symphonic poem Finlandia, are a symbol of Finland. I decided to name the typeface family I’m presenting here FinlandiaScript, because it owes its influence to both Sibelius’ manuscripts and the Finnish landscape around Ainola. The shape of letters, their poise and the rhythm they create resemble Sibelius’ handwriting without copying it. The letters form gently flowing lines of text which is legible without giving up individuality. The font family comes in three styles: FinlandiaScript, FinlandiaScript Bold and FinlandiaScript Frost. Together they are perfect for magazines, websites and brands aiming to create a personal and sincere image. While the fine details of FinlandiaScript Frost are best suitable for display sizes, FinlandiaScript and FinlandiaScript Bold work well in both headlines and texts of smaller sizes. Hundreds of ligatures give them an especially flexible appearance. The FinlandiaScript family contains Western, Central European and Extended Cyrillic character sets and supports almost 100 languages. It is best suited for Opentype savvy programs with the “standard ligatures” and “contextual alternates” features turned on.

Introducing Chainprinter, the typeface that channels the raw power of vintage computing. This all-caps font takes inspiration from the mighty chainprinter—a machine that printed at breakneck speeds, slicing through paper at the speed of a chainsaw. It was a marvel of 1960s technology, and now you can capture its unique texture with this stunning typeface. Incorporate Chainprinter into your next project and transport your audience back to the early days of computing. Use it to create posters, flyers, or even business cards that pay homage to the pioneers of computing history. And if you need a cleaner, more modern version, check out Typodermic’s Linefeed—the perfect complement to Chainprinter’s raw style. So why settle for boring, generic fonts when you can tap into the raw power of Chainprinter? Try it today and experience the thrill of vintage computing in every letter. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

I fell in love at the age of twelve in Wales, recalls Bernard Philpot. "My father brought me to a small graveyard in the Welsh hills to show me two headstones carved by the great Eric Gill. I instantly fell in love with the beauty of the carving and the perfection of the letterforms. I still go back to marvel at these works of art." However, the ITC Bolthole™ design, Philpot's first commercial typographic endeavor, is quite unlike the works of Eric Gill that first captured his heart. Bolthole is a craggy sans serif with a definite grumpy attitude. It's not terribly legible, and, if more than a few words are set in the design, it's not very readable. To round out its cranky personality, Bolthole does not like to be set in small sizes. Like Cheez Whiz® and bullfights, you either love or hate this typeface. But whichever emotion dominates, there is no denying that Bolthole has a personality to be reckoned with - one with ample magnetism to ensure reader attraction. If used to set brief blocks of display copy, the typeface makes a powerful statement. Bolthole was originally designed to complement a whimsical ad for the Royal Society for the Prevention of Cruelty to Animals. As Philpot recalls, "although the ad didn't win any awards, the type attracted some very positive comments for its original look and feel." Philpot studied graphic design and typography at the London School of Printing, and soon after graduation found himself working in a large advertising agency in London. According to Philpot, "After designing type for everything from packaging to ads, I thought it time to convert one of my designs into a complete font - and Bolthole was born." ITC Bolthole could very well be the Shrek™ of typeface design - which might not be such a bad thing."

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. A biography/story of each homeless person captures their story, to help raise awareness and bring some dignity to the life of homeless people. Monotype is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Juan Carlos was born in Barcelona, Spain 46 years ago. Since the age of 17 – and during eleven years – he worked double shifts of eight hours every day in a factory. Excessive work and family problems debilitated his health and he lost his job. He then faced a dilemma: to spend unemployment benefits to pay for rent or for food. For a few years, he worked helping in the kitchens of different restaurants while he lived on a pension, until he was definitively left without work and ended up living in the street for 10 years. “In the street I tried to find rest in the ATMs of banks. I preferred to be alone, and if I ran into conflictive people, I looked for somewhere else” he explains. Living in the street he was the victim of an aggression. Since then, with the help of Arrels he moved into a pension. Today, Juan Carlos is a volunteer in the shower service of Arrels, the same showers he used during years. He also collaborates with the maintenance team, helps prepare hygienic and cleaning material, and participates in activities such as the theatre group and the football team.

The Typist Code SansSerif is part of a big family, the Typist Family. The family consists of a monospaced, a Slab Serif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SansSerif variant therefore has Typist Code Prop, written in full the Typist Code Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, Semi-Bold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typistslabfont-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

Rose Garden Deluxe is an elegant type collection including a luscious high contrast serif in three weights and an ethereal pen script also in three weights. Together the fonts form an effective all-around set for sophisticated display purposes. The fonts are best used for imposing headlines, as a logotype, in packaging and posters. Rose Garden Serif has an extra high contrast giving it a sophisticated look, suitable for fashion or luxurious high-end products, magazines and anything such. Rose Garden Pen has no contrast, as if it was written with a steady and precise inking pen. Rose Garden Pen is equipped with plenty of useful OpenType features: it has Contextual Alternates and Standard Ligatures to enliven the flow of “writing” and to keep the connections between letters smooth. In addition it has Stylistic and Swash Alternates for every standard uppercase and lowercase characters, as well as for ampersand and few ligatures. On top of that it has initial and terminal swashes - a feature that is set in Titling Alternates. The feature works following: click it on and write normally. Type a space before a word and after it to get a special swash character in the beginning and in the end of the word. If that isn’t enough seek for even more alternates in the Glyphs Palette. Each weight has over 650 glyphs in total. Rose Garden Ornaments is an extension to Rose Garden Pen. It’s a set of Ornaments with the same weight and handwriting style as the font. The swooshes can be combined with the font for even more ornamental looks and the swashes set in lowercase letters can be used as additional terminal swashes, combined with any lowercase character.

From fine print and red ink in corporate annual reports to huge three dimensional signage, Neutraface has become the definitive designers’ workhorse. Now this geometric juggernaut boasts even more font firepower with the addition of the Neutraface Slab family. Neutraface Slab features five display weights, four text weights with italics plus a unique stencil style that work together like a typographic symphony or can stand alone like accomplished soloists. Just like its sans-serif counterparts, Neutra Slab Text includes small caps, seven figure styles and a host of other sophisticated OpenType features that have been integrated in a single seamless package. The complementary display weights afford an uncompromising statement that can range from thin and delicate to bold and bombastic. FEATURES: MORE ALTS: Neutraface Slab comes with several alternate characters, accessed through either OpenType stylistic sets or through the Stylistic Alternates feature. TITLING ALTERNATES: The distinctive lower crossbars of the original Neutraface are included in Neutraface Slab as the Titling Alternates OpenType feature. TEXT FIGURES: All variations of Neutraface Slab Text feature seven figure styles. Included are text figures for use in running text, lining figures for use with uppercase forms and small caps figures. Each of these styles is supplemented with tabular figures for use in columnar settings. Plus, superscript and subscript figures are included for use in fractions, footnotes, etc. NEUTRAFACE SLAB CREDITS: Typeface Design: Christian Schwartz, Kai Bernau, Susana Carvalho Typeface Production: Ben Kiel, Hannes Famira Typeface Direction: Christian Schwartz, Andy Cruz, Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Few fonts reach cult status. Despite its ubiquity—and perhaps because of its lack of subtlety—for a hundred years Cooper continues to draw the faithful. It’s even come to define an entire typographic genre and recently starred in its own documentary. Cooper Nouveau is Dave West’s imaginative contribution to the Cooper oeuvre. Drawn in 1966, Nouveau refreshes Oswald Cooper’s original italic with an energetic pitch, simplified contours, and a plump friendly figure. Uniform strokes and generous curves push the font’s playful personality and springy silhouette even further. A selection of swashed characters and ligatures offers options for lively logos and strong captions. While Cooper Nouveau looks laid-back and easy-going, it’s more than capable of pulling it’s own typographic weight. Put it to work where relaxed needs to project confident. Set Nouveau large for eye-magnet posters, packaging, and advertisements. Maximize its youthful energy for kids’ themes, craft action, and apparel bounce. Or set it alongside a master like Benguiat Buffalo or Chalet to show how Cooper Nouveau can communicate on paper and screens with an inherent ability to speak the language of style in many tongues. But like any cult icon: beware! Cooper has a way of setting the needle, and Nouveau just may become your go-to design fix. FEATURES ALTERNATES: Cooper Nouveau contains several alternate characters, which add flair to your designs and can help solve spacing issues LIGATURES: Many letter combinations in Cooper Nouveau form a ligature to solve spacing issues and produce more pleasing designs. COOPER NOUVEAU CREDITS Typeface Design: Dave West Digitization: Dave Foster Typeface Direction: Ben Kiel, with Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

The most space-saving sans serif This font saves more space than any of its kind! Slim proportions, but not “condensed” Characters which nearly touch Sparse ascenders and descenders Distinct forms How close to each other can the characters of a font get? Theoretically, as close as you want. But obviously, the words should still be legible. And as any designer knows, body clearance of characters also depends on other parameters such as point size and line spacing. In practice, there are always situations in which as much information as possible has to be positioned in as little space as possible. The ingoFont ÉconoSans is made for exactly this purpose. Even the name of the font implies its function: French for the infinitive “to save” is “économiser.” Now if that doesn’t sound good… The shapes of the upper and lower case letters are completely matter-of-fact, the way a modern font has got to be. The letters c e, and s are wide open to their neighbors. An especially distinguished trait of this font is the design of the “triangular” characters v w y x k z and A V W Y Z K X M N. And the open form of B R and P is also not typical in a sans serif. The distance between letters is kept tight and often the characters nearly touch, but only nearly. With ÉconoSans you gain approximately 20% more text in a line than with »Tahoma«, and even still more than 10% compared to »Helvetica«. ÉconoSans also includes tabular figures as well as ligatures. Among the ligatures, the double mm is especially unusual and is hardly familiar, but can contribute greatly to saving space without catching the reader’s eye.

The history of Aerolite, from Jan Paul: "The Aerolite fonts are essentially stripped down versions of a complex outline typeface I designed for the first Midnight Oil album in 1978, affectionately known as "The Blue Meanie". Many years later I saw the font "powderworks" and asked Brian Kent if he would be interested in digitizing Aerolite. Brian is a font (!) of knowledge and was of invaluable help by getting Aerolite to where it is today. Special care was taken in keeping the distinct character while as Aerolite Regular also providing a legible, thouroughly kerned body type which can be used in all sizes for large volume text." For the Pro version the kerning has been tweaked further, and the character set completed and expanded - and the alternate uppercase A (also with accents) is available as OpenType stylistic alternates. It is now ready for your next international science or sci-fi project. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Write like the inventor of the diesel engine — it’s possible with the Diesel Rudolf Script (patterned after the original handwriting of Rudolf Diesel)... In 2008 the city of Augsburg and the MAN Group celebrated the 150th birthday of Rudolf Diesel, inventor of the diesel engine which was named after him. With the help of a few preserved original letters, it was possible to create a convincing digital version of Rudolf Diesel’s personal handwriting. The engineer and inventor Rudolf Diesel was born in Paris in 1858 and also went to school there. In1870 his family moved to England and Rudolf was sent to relatives in Augsburg where he continued going to school. Later, after completing his studies in Munich, he began working as an engineer in the machine factory Linde. Alone this part of his life makes clear why Rudolf Diesel’s handwriting was so ”jerky,“ hesitant and inconsistent. He learned to write according to the French style, that is, Latin cursive — completely different from the very correct and neat German handwriting taught at that time which he had to learn at 13 years of age. These circumstances explain why his handwriting is ”messy“ (especially for those days) with its mixtures of letter forms within a text, even within individual words. Plus, he obviously did not attach much importance to ”pretty writing.“ Sometimes the characters are wide, then narrow, sometimes large and clear and then again crammed and primitive. The individuality is emphasized with characteristics derived from quill and ink. The diversified images of the font Diesel Rudolf Script make more than 80 ligatures and stylistic alternates possible which can be selected with help from the OpenType functions Ligatures and Discretional Ligatures.

The requirements of Middle Ages scribes who copied and produced books in monasteries were fundamentally to preserve space, due to the high cost of the writing surface. During this long period of the development of Gothic forms, many other variations of the style of black letters appear: Textur or “Gothic-antique”, another group called Rotunda preferred by Italian and Spanish scribes. In 1490, the style "Bâtarde" (according to the the French classification) began to be widely used in Germany with more rounded shapes and named Scwabacher (probably derived from the city of Schwabach, but not certified) Fractur is a more condensed and narrower form than Schwabacher. This style is attributed to Johann Neudörfer of Nuremberg, cut in 1513; it was quickly imitated, therefore a few years later became to be a German national identity that extended over the next four centuries. The shape of its characters can be considered as a fusion of Texture and Schwabacher: the lowercase actually has medium strictly vertical and half curved strokes. The first expressions of the baroque influence this writing whose appearance of movement is due to the ornaments applied to the uppercase letters and the ascending and descending features of the lowercase. Despite having spent so many years and being a typeface not suitable for extensive reading texts, the Gothic Fractur has endured over time for possessing a strong and solid characteristic, as well as being closely linked to the spirit of gothic cathedrals of countries in northen Europe. In fact, it is probably that this expressive feature leads them to be chosen in the most varied graphic communication needs, which run from from banks and financial companies, insurers, law offices, publishers, newspapers and TV networks, till alcoholic drinks, funeral tombstones, packaging and even tattoos.

Collogue - Variable Font is a cutting-edge and versatile typeface that brings a new level of adaptability to display typography. Unlike traditional fonts with fixed styles, a variable font allows designers to manipulate various aspects of the typeface, such as weight, width, and slant, along a continuous spectrum. Here's a comprehensive explanation of the features and functions of the Display Variable Font: Key Features: -Adaptive Design Elements: The primary feature of the Display Variable Font is its adaptability. -Designers can seamlessly vary specific attributes of the font, including weight, width, slant, and more. -This flexibility empowers designers to fine-tune the typography to suit the visual aesthetics of their projects. -Single Font File, Multiple Styles: Display Variable Fonts consolidate multiple styles into a single font file. This eliminates the need for separate files for different styles, providing a streamlined and efficient solution for designers. -Smooth Transitions: Changes in the font attributes occur smoothly and continuously. Unlike traditional fonts that switch abruptly between styles, a Display Variable Font ensures a fluid transition, allowing for a more harmonious and visually pleasing typographic experience. -Precision Control: Designers have precise control over the variation axis, enabling them to adjust the font's appearance with granular precision. This level of control enhances the typographic customization possibilities and allows for fine-tuning based on specific design requirements. -Responsive Typography: Display Variable Fonts excel in responsive design. They adapt gracefully to various screen sizes and resolutions, ensuring optimal readability and aesthetics across different devices. Functions: -Dynamic Branding: For brands looking to establish a dynamic and adaptable visual identity, Display Variable Fonts offer the perfect solution. The font's ability to adjust seamlessly allows for a versatile and cohesive branding experience across diverse applications. -Editorial Freedom: In editorial design, Display Variable Fonts provide editorial teams with the freedom to experiment with typography. The font can be adjusted to suit different sections or emphasis points within publications, enhancing the overall visual appeal. -Web Design Innovation: Display Variable Fonts are at the forefront of innovation in web design. They enable designers to create dynamic and interactive typographic elements that respond to user interactions, contributing to a modern and engaging web experience. -Attention-Grabbing Displays: Whether used in signage, banners, or large-scale displays, Display Variable Fonts stand out with their adaptability. Designers can experiment with different styles within a single font to create attention-grabbing and visually dynamic displays. -Customizable Interfaces: In digital interfaces, Display Variable Fonts provide a customizable typographic experience. Designers can optimize text elements for different device sizes and orientations, ensuring a seamless and visually pleasing user interface. -Innovative Advertising: Display Variable Fonts offer a fresh approach to advertising typography. Brands and advertisers can leverage the font's adaptability to create visually striking and memorable campaigns across various media channels. In summary, Display Variable Fonts represent a groundbreaking evolution in typographic design, providing designers with unprecedented flexibility and control

Geometric font inspired by shop signs in 4 styles Anisette has sprouted as a way to test some ideas of designs. It has started with a simple line construction (not outlines as usual) that can be easily expanded and condensed in its width in Illustrator. Subsequently, this principle of multiple widths and extreme weights permitted to Jean François Porchez to have a better understanding with the limitations associated with the use of MultipleMaster to create intermediate font weights. Anisette built around the idea of two widths capitals can be described as a geometric sanserif typeface influenced by the 30s and the Art Deco movement. Its design relies on multiple sources, from Banjo through Cassandre posters, but especially lettering of Paul Iribe. In France, at that time, the Art Deco spirit is mainly capitals. Gérard Blanchard has pointed to Jean Francois that Art Nouveau typefaces designed by Bellery-Desfontaines was featured before the Banjo with this principle of two widths capitals. The complementarity between the two typefaces are these wide capitals mixed with narrow capitals for the Anisette while the Anisette Petite – in its latest version proposes capitals on a square proportions, intermediate between the two others sets. Of course, the Anisette Petite fonts also includes lowercases too. Anisette Petite, a geometric font inspired by shop signs in 4 styles So, when Jean François Porchez has decided to create lowercases the story became more complicated. His stylistic references couldn’t be restricted anymore to the French Art-déco period but to the shop signs present in our cities throughout the twentieth century. These signs, lettering pieces aren’t the typical foundry typefaces. Simply because the influences of these painted letters are different, not directly connected to foundry roots which generally follow typography history. The outcome is a palette of slightly strange shapes, without strictly not following geometrical, mechanical and historical principles such as those that typically appear in typefaces marketed by foundries. As an example, the Anisette Petite r starts with a small and visible sort of apex that no other similar glyphs such as n or m feature, but present at the end of the l and y. The famous g loop is actually inspired by Chancery scripts, which has nothing to do with the lettering. The goal is of course to mix forms without direct reports, in order to properly celebrate this lettering spirit. This is why the e almost finishes horizontally as the Rotis – and the top a which must logically follow this principle and is drawn more round-curly. This weird choice seemed so odd to its designer that he shared his doubts and asked for advise to Jeremy Tankard who immediately was reassuring: “Oddly, your new top a is fine, it brings roundness to the typeface, when the previous pushes towards Anisette Petite to unwanted austerity.” The Anisette Petite, since its early days, is a mixture of non-consistent but charming shapes. Anisette, an Art Déco typeface Anisette Petite Club des directeurs artistiques, 46e palmarès Bukva:raz 2001

One menorah that I have long found particularly appealing was named The Tree of Life Menorah, a replica of which I gave as a gift one holiday to a kindly old couple who were neighbors and became friends. It had a simple, organic elegance that I see in the best of Art Nouveau sculpture. To me personally, Judeism is a celebration of life, like the triumph of the flower that blossoms in the crack of the city sidewalk. Just as Hanukkah celebrates the rededication of the temple and the miracle of the oil, it celebrates the victorious quest for freedom of the Hebrew people led by Judah Maccabee. Hanukkah represents determination and courage and faith — and it represents the presence of God in the lives of His people. It is interesting to note that the founding of the Albanian nation in the early twentieth century grew out of the resistance of the Albanian people to the imposition of Greek language and culture in the aftermath of the dissolution of the Ottoman Empire. The typeface, HADASSAH, designed by Henri Friedlander (1904-1996), is my favorite Hebrew typeface. Thirty years in the crafting, I believe it is unsurpassed for its shear beauty, combining a subtle modulation of stroke with a simplicity and clarity of form. No doubt, that is why it has become so popular. For me, the Sîyn/Shîyn characters are especially satisfying. For a Hanukkah message in Hebrew, I would choose HADASSAH LIGHT for a headline and print it as large as I could. If, however, you are looking for a friendly, warm face for a seasonal message in a roman-letter based language, may I suggest BETHLEHEM EPHRATH. It will be as comfortable as a bulky, hand-knit sweater on a frosty afternoon and reflects the solid, encompassing, family orientation of this holiday. It was on the way to Ephrath that Jacob’s beloved wife Rachel gave birth to Benjamin and then died from her labor. It was to Ephrath that Naomi and Ruth returned and in Ephrath that we have the wonderful, heart-warming story of the marriage between Ruth and her Redeemer-Kinsman, Boaz. And it was to Ephrath that prophet, Samuel, went to find a new king and there in Ephrath that the prophet annointed a small shepherd boy named David. The Proverbs tell us to seek wisdom. Never underestimate the impact you have on others. Words of kindness can change people’s lives. The Talmud says that the highest form of wisdom is kindness. Be wise this holiday season. The font BETHLEHEM EPHRATH is based on the typeface Accent with the permission of URW++ of Hamburg, Germany. Like most display fonts, it is most effective at 18 points and larger. Like most script fonts, it is most effective when set with both upper and lower case. Although this font is readable in all caps (many scripts are not), that does not make it a good idea. Do so only with caution.

Introducing Sun Type, a delightful and versatile serif logo font that exudes creativity and charm. With over 150 ligature glyphs and alternate characters, this font offers a wide range of design possibilities, allowing you to craft unique and visually stunning logos and brand identities. Sun Type goes above and beyond with its extensive collection of 52 swashes, offering you the opportunity to add elegant and decorative elements to your text. These swashes effortlessly elevate your designs, giving them a touch of sophistication and individuality. Not only does Sun Type excel in its aesthetic appeal, but it also showcases its practicality by supporting a staggering 87 languages. No matter where your audience is located or what language they speak, you can confidently communicate your message with this font. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu LigaturesAB,AC,AD,AF,AG,AI,AK,AL,AM,AN,AP,AR,AT,AU,AV,AW,AY,BA,BE,BI,BL,BO,BU,CA,CC,CE,CH,CI,CK,CL,CO, CR,CT,CU,DA,DD,DE,DI,DO,DS,DY,EA,EC,ED,EE,EF,EG,EI,EL,EM,EN,EP,ER,ES,ET,EV,EW,EX,EY,FA,FE,FF,FI, FO,FR,GA,GE,GH,GO,GS,HA,HE,HI,HO,HT,IK,IL,IM,IN,IT,IH,KE,KI,KN,KO,LA,LE,LF,LI,LK,LL,LO,LT,LY,MA,ME, MM,MO,MP,MS,MU,NC,ND,NE,NG,NK,NL,NN,NO,NS,NT,OA,OB,OC,OD,OF,OG,OI,OK,OL,OM,ON,OO,OP, OR,OS,OT,OU,OV,OW,PE,RA,RE,RF,RK,RM,RN,RO,RR,RS,SA,SC,SE,SH,SK,SS,ST,TC,TE,TH,TI,TL,TO,ST,TT,TU, TW,TY,UC,UE,UL,UM,UN,UR,US,UT,VA,VE,VO,WA,WE,WH,WN,WO,YE,YO,YS,MEN,FRO,RON,ROM,THE, AND,ING,HER,HAT,HIS,THA,ERE,FOR,ENT,TER,WAS,YOU,ITH,VER,ALL,THI,OUL,GHT,AVE,HAV,HIN,ATI, EVE,HING,WERE,FROM,THAT,THER,HAVE,THIS,MENT How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!

The Nesobrite typeface is a striking representation of the modern, boxy design aesthetic. Its linear, mechanical structure is the perfect embodiment of clean and neutral, with an austere edge that adds a touch of sophistication to any design. This font has been inspired by classic square-sans fonts, such as Bank Gothic and Microgramma, but with a contemporary twist that sets it apart. One of the most remarkable aspects of Nesobrite is its ability to imbue your message with a clear, professional, and authoritative voice. Its scientific vitality is sure to make your text come to life, whether it is for a technical report, a research paper, or a business presentation. The font’s versatility makes it ideal for conveying complex data and analytical information in a concise, clear, and easy-to-read manner. Nesobrite is also packed with useful features that make it an invaluable tool for any designer. Its small caps function is a useful addition for those looking to create designs that exude an air of formality and elegance. The font comes in five different widths and weights, as well as italics, which allows designers to use it in various contexts and settings. But what truly sets Nesobrite apart is its boxy design. The typeface’s clean and geometric structure is an ode to the modernist design movement, with its minimalistic and uncluttered aesthetic. Its sharp corners, angular edges, and right angles give it a distinct and eye-catching appearance that is sure to capture the attention of anyone who sees it. In conclusion, the Nesobrite typeface is the perfect tool for designers looking to create a sleek, modern, and professional look for their projects. Its linear, mechanical design, scientific vitality, and boxy design make it a versatile and dynamic font that is sure to elevate any project to new heights. With its range of weights, widths, and italics, Nesobrite is the perfect font for any designer looking to make a statement with their work. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Phinney Jenson ML is a font with deep historical roots firmly planted in the fertile soil of the Italian Renaissance. Twenty years after Lorenzo Ghiberti finished his famous East Doors, the Gates of Paradise, of Santa Maria del Fiore in Florence and about fifteen years before Sandro Botticelli painted his “Birth of Venus,” a French printer by the name of Nicolas Jenson set up a small print shop in the powerful city-state of Venice. The fifteenth century marked the end of the plague and the rise of Venetian power, as the merchants of Venice controlled the lucrative trade of the eastern Mediterranean and sent their ships as far as London and even the Baltic. In 1470, Jenson introduced his Roman type with the printing of De Praeparatio Evangelica by Eusebuis. He continued to use his type for over 150 editions until he died in 1480. In 1890 a leader of the Arts & Crafts movement in England named William Morris founded Kelmscott Press. He was an admirer of Jenson’s Roman and drew his own somewhat darker version called GOLDEN, which he used for the hand-printing of limited editions on homemade paper, initiating the revival of fine printing in England. Morris' efforts came to the attention of Joseph Warren Phinney, manager of the Dickinson Type Foundry of Boston. Phinney requested permission to issue a commercial version, but Morris was philosophically opposed and flatly refused. So Phinney designed a commercial variation of Golden type and released it in 1893 as Jenson Oldstyle. Phinney Jenson is our version of Phinney’s version of Morris' version of Nicolas Jenson’s Roman. We selected a view of the Piazza San Marco in Venice for our gallery illustration of Phinney Jenson ML because most of the principal buildings on the Piazza were already standing when Jenson arrived in Vienna in 1470. The original Campanile was completed in 1173 (the 1912 replacement is partially visible on the left). The Basilica di San Marco was substantially complete by 1300. The Doge’s Palace (not in the photo, but next to the Basilica) was substantially complete by 1450. Even the Torre dell'Orologio (Clock Tower) may have been completed by 1470—certainly by 1500. Phinney Jenson ML has a "rough-and-ready" strength, suitable for headlines and short blocks of text. We have sought to preserve some of the crudeness of the nineteenth-century original. For comparison, see the more refined Centaur, Bruce Rogers's interpretation of Jenson Roman. Phinney Jenson ML has a strong presence that will help your documents stand out from the Times New Roman blizzard that threatens to cover us all. Phinney Jenson ML Features: 1. Glyphs for the 1252 Western Europe, 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Accented glyphs for Cornish and Old Gaelic. Total of 393 glyphs. 400 kerning pairs. 2. OpenType GSUB layout features: onum, pnum, salt, liga, dlig, hisy and ornm. 3. Tabular (std), proportional (opt) & old-style numbers (opt). 5. CcNnOoSsZz-kreska available (salt).

Proudly present our new font. It is named Hollgates - Elegant Signature Font. Hollgates is script handwritten style with a natural charm. This font which is a modern signature and unique style handmade comes with very beautiful character changes. To keep the maximum real hand-lettered effect, there were created 240 ligatures (you can see them among the presentation pictures). When creating the font, we should take into consideration that each letter should be able to be connected with other letters. For example, the letter "a" should be well connected as well as with "l" and "n" and with any other letters. This limits us: we have to start letter from exact one point and finish at exact second point. So here come ligatures. Hollgates font contains following ligatures: ab ad af ah ai ak al am an ao ap as at az az bh bl bk bt bx br cb cl ch ck cc cr cs ct co cx cz dd db dh dl dk dt dr ds dx dz eb ef eh ek el et ett er em en es ex ez ff fh fl fk fi fo fs ft fr fz fx gg gh gr gb gf gl gk gt go gs gz hf ho hs ht hz ib if ih ik il it itt ii in im ip is ir iz ix jo kl kk kh ko ks kr kt kx kz lo li ls lu lr lx ly lz mm mf mi mh ml mk mo mp ms mt mz mx nb ni nf nh nl nk no ns nr np nt nx nz ob of oh oi oj ok ol om on op os ot ott ou ox oz ph ppl pp ps pt pu pi pr po px pz rs rr st sh sl sk sb si sm sn so sp su sx sy sz oll all ell ill ull th tl tk ti ts tr to tu tx tz ty ub ul uh uk ul ut utt un um up us ux uz vh vl wh wl wo zz ee ll ff oo rr ss tt dd ff It’s the perfect fit for all luxury projects, such as wedding invitation, signatures, luxury logos, printed quotes, grettings cards, social media headers, product packaging and many more! It includes a full set of uppercase and lowercase letters, multilingual symbols, numerals, punctuation and ligatures. It is PUA encoded which means you can access all of the glyphs and swashes with ease! Fall in love with its incredibly versatile style and use it to create spectacular designs! Use this font for any crafting project that requires a personalized look! What’s Included : – Works on PC & Mac – Easy to use ( Installations ) – Easy Convert to webfont – Compabilty Windows, Apple, Linux, Cricut, Silhouette and Other cutting machines Thanks for downloading, and I hope you enjoy it!

Johann Carl Ludwig Prillwitz, the German punch cutter and type founder, cut the first classic Didot letters even earlier than Walbaum. The earliest proof of so-called Prillwitz letters is dated 12 April 1790. Inspired by the big discoveries of archaeology and through the translations of classical authors, the bourgeoisie was enthused about the Greek and Roman ideal of aesthetics. The enthusiasm for the Greek and Roman experienced a revival and was also shared by Goethe and contemporaries. »Seeking the country of Greece with one’s soul«. All Literates who are considered nowadays as German Classics of that time kept coming back to the Greek topics, thinking of Schiller and Wieland. The works of Wieland were published in Leipzig by Göschen. Göschen used typefaces which had been produced by until then unknown punch cutter. This punch cutter from Jena created with these typefaces master works of classicist German typography. They can stand without any exaggeration on the same level as that of Didot and Bodoni. This unknown gentleman was known as Johann Carl Ludwig Prillwitz. Prillwitz published his typefaces on 12th April 1790 for the first time. This date is significant because this happened ten years before Walbaum. Prillwitz was an owner of a very successful foundry. When the last of his 7 children died shortly before reaching adulthood his hope of his works was destroyed, Prillwitz lost his will to live. He died six months later. His wife followed him shortly after. The typeface Prillwitz as a digital font was created in three optical styles (Normal, Book and Display). The typeface Prillwitz Press was created especially for a printing in small sizes for newspapers. »Prillwitz Press« combines aesthetic and functional attributes which make written text highly readable. It was originally designed for a newspaper with medium contrast to withstand harsh printing conditions. Its structure is quite narrow which makes this typeface ideal for body text and headlines where space is at premium. For the Normal – even more for the Book – a soft and reader-friendly outline was created through a so-called »Schmitz« and optimized in numerous test prints. The arris character and the common maximal stroke width contrast of the known classicist typefaces (Didot/Bodoni) were edited by the study of the original prints. This was also done in order to reach a very good readability in small type sizes. This typeface is perfectly suited to scientific and belletristic works. Accordingly it has three styles: Regular, Bold and Italic as Highlighting (1). The typeface Prillwitz is a complete new interpretation and continuing development of the conservated originals from 1790. They have been kept in the German Library in Leipzig. It was always given the priority to keep the strong roughness and at the same time optimizing the readability of this striking font. The type family has all important characters for an efficient and typographic high quality work. ----------- (1) Accentuation of particular words or word orders (e.g. proper names, terms etc.). Typographic means for Highlighting could be Italic, SmallCaps or semi-bold.